8. Flaying of Marsyas: Naples 2991 = Reinach, i. 406 (a vase with

reliefs); Roscher, ii. 2455 = _Él. Cér._ ii. 64. Among other scenes in which Apollo (generally accompanied by Artemis) plays a personal part, the following may be mentioned: the slaying of the Niobids by the two deities[265]; the slaying of Tityos by Apollo[266] (in one case Tityos is represented carrying off Leto, who is rescued by Apollo)[267]; and various love adventures in which Apollo is concerned.[268] The name of the Nymph pursued by him in the latter scenes cannot, as a rule, be identified; one vase appears to represent him contending with Idas for the possession of Marpessa.[269] He also heals the Centaur Cheiron (this appears in burlesque form),[270] and protects Creusa from the wrath of Ion.[271] He is seen seeking for the cattle stolen from him by Hermes, and contending with that god over the lyre.[272] He frequently appears in Birth of Athena scenes as Kitharoidos,[273] and also at the sending forth of Triptolemos[274] or in the under-world.[275] In one case he appears (with Athena, Artemis, and Herakles) as protecting deity of Attica, watching a combat of Greeks and Amazons.[276] On one vase there is a possible reference to Apollo Smintheus, with whom the mouse was especially associated.[277] Like other deities, Apollo and Artemis are frequently found on Apulian vases as spectators of the deeds of heroes, or other events in which they are more or less interested; some of these subjects have already been specified (see above, p. 17). Apollo especially is often seen in connection with the story of Herakles, or the Theban and Trojan legends. One burlesque scene represents his carrying off the bow of Herakles to the roof of the Delphic temple,[278] and the subject of the capture of the tripod, with the subsequent reconciliation, is of very frequent occurrence.[279] As Apollo Ismenios, the patron of Thebes, he is a spectator of the scene of the infant Herakles strangling the snakes[280]; in one case he is represented disputing with Herakles over a stag,[281] which may be another version of the story of the Keryneian stag, a scene in which he also occurs.[282] He is seen with Herakles and Kyknos,[283] Herakles and Kerberos,[284] and is very frequently present at the apotheosis of the hero.[285] Apollo and Artemis watch Kadmos slaying the dragon,[286] and one or other of them is present at the liberating of Prometheus[287]; Apollo alone is seen with Oedipus and Teiresias,[288] and watches the slaying of the Sphinx by the former.[289] Among Trojan scenes he is sometimes present at the Judgment of Paris,[290] also at the sacrifice of Iphigeneia, the pursuit of Troilos, the combats of Achilles and Ajax with Hector, and the recognition of Aithra by her sons.[291] He is, of course, frequently seen in subjects from the Oresteia, both in Tauris and at Delphi,[292] and at the death of Neoptolemos before the latter temple.[293] The pair are also seen at the carrying off of Basile by Echelos (see p. 140).[294] The ξόανον, or primitive cult-statue, of Apollo is sometimes represented; in one case Kassandra takes refuge from Ajax before it, instead of the usual statue of Athena.[295] * * * * * The appearances of =Artemis=, as distinct from Apollo, need not detain us long; she is sometimes found in mythological scenes, but frequently as a single figure, of which there are some fine examples.[296] A winged goddess grasping the neck or paws of an animal or bird with either hand frequently occurs on early vases, and is usually interpreted as Artemis in her character of πότνια θηρῶν or mistress of the brute creation, sometimes called the Asiatic or Persian Artemis.[297] On an early Boeotian vase (with reliefs) at Athens is a curious representation of Artemis Diktynna, a quasi-marine form of the goddess, originally Cretan (?); on the front of her body is represented a fish, and on the either side of her is a lion.[298] As a single figure she appears either with bow or quiver, or with lyre, sometimes accompanied by a stag or hind, or dogs[299]; she also rides on a deer[300] or shoots at a stag.[301] Or, again, she is attended by a cortège of Nymphs[302] or rides in a chariot.[303] Like that of Apollo, her ξόανον is sometimes introduced into a scene as local colouring.[304] The myth with which she is chiefly associated is that of Aktaeon, which may find a place here, though in most cases Aktaeon alone is represented, being devoured by his hounds.[305] A curious subject on a vase at Athens appears to be the burial of Aktaeon, Artemis being present.[306] She is also represented at the sacrifice of Iphigeneia, for whom a stag was substituted by her agency,[307] and in connection with the same story at her shrine in Tauris.[308] She is especially associated with Apollo in such scenes as the contest with and flaying of Marsyas,[309] the rape of the Delphic tripod by Herakles[310] and the subsequent reconciliation,[311] or the appearance of Orestes at Delphi.[312] The two deities sometimes accompany nuptial processions in chariots, Artemis as _pronuba_ holding a torch, but it is not easy to say whether these scenes refer to the nuptials of Zeus and Hera or are of ordinary significance.[313] A scene in which she pursues a woman and a child with bow and arrow may have reference to the slaughter of the Niobids.[314] Other scenes in which she is found are the Gigantomachia[315] and the Birth of Athena[316]; or she is seen accompanying the chariots of Demeter[317] and Athena,[318] and with Aphrodite and Adonis.[319] She disputes with Herakles over the Keryneian stag[320]; and is also present when he strangles the snakes,[321] and at his apotheosis in Athena’s chariot.[322] She attends the combat of Paris and Menelaos,[323] and as protecting deity of Attica she watches a combat of Greeks and Amazons.[324] A vase in Berlin, on which are depicted six figures carrying chairs (Diphrophori, as on the Parthenon frieze) and a boy with game, may perhaps represent a procession in honour of Artemis.[325] * * * * * =Hephaistos= is a figure who appears but seldom, and never as protagonist, except in the case of his return to Olympos,[326] a subject already discussed (p. 17), as has been his appearance in the Gigantomachia[327] and at the birth of Athena.[328] In conjunction with the last-named goddess he completes the creation and adornment of Pandora on two fine vases in the British Museum[329]; he is also present at the birth of Erichthonios.[330] His sojourn below the ocean with Thetis and the making of Achilles’ armour also occur.[331] Representations of a forge on some B.F. vases may have reference to the Lemnian forge of Hephaistos and his Cyclopean workmen.[332] He is also seen with Athena,[333] at the punishment of Ixion,[334] and taking part in a banquet with Dionysos.[335] * * * * * More important than any of the other Olympian deities, for the part she plays in vase-paintings, is =Athena=, the great goddess of the Ionic race, and especially of Athens. Of her birth from the head of Zeus we have already spoken, as also of the part she plays in the Gigantomachia (p. 15). The separate episode of her combat with Enkelados (her invariable opponent) is frequently depicted on B.F. vases[336]; but in one instance she tears off the arm of another giant, Akratos.[337] We have also seen her assisting at the creation of Pandora,[338] and contending with Poseidon for Attica.[339] She receives the infant Dionysos at the time of his birth,[340] and is also generally present at that of Erichthonios,[341] and once with Leto at that of Apollo and Artemis.[342] She is, of course, an invariable actor in Judgment of Paris scenes, in one of which she is represented washing her hands at a fountain in preparation for the competition.[343] From assemblies of the gods she is rarely absent, and she is also associated with smaller groups of divinities, such as Apollo and Artemis (p. 31), with Ares or Hephaistos,[344] or with Hermes,[345] or in Eleusinian[346] or Dionysiac scenes.[347] Thus she assists at the slaying of the Niobids,[348] and on one vase is confronted with Marsyas, before whom she has just dropped the flutes.[349] Scenes in which she appears receiving a libation from Nike are extremely common[350]; and she is also found with Iris and Hebe.[351] In one instance she herself pours a libation to Zeus.[352] Generally the companion of princes and patroness of heroes, she protects especially Herakles, whom she aids in his exploits and conveys finally in her chariot to Olympos, where he is introduced by her to Zeus.[353] Some scenes represent the two simply standing together[354]; in others she welcomes and refreshes him after his labours,[355] and in one case he is supposed to be represented pursuing her.[356] It is unnecessary to particularise here the various scenes in which she attends Herakles (see p. 95 ff.); but one may be mentioned as peculiar, where she carries him off in her chariot with the Delphic tripod which he has just stolen.[357] Another rare scene connected with the Herakles myths is one in which, after the fight with Kyknos (see p. 101), Zeus protects her from the wrath of Ares.[358] Another of her favourite heroes is Theseus,[359] and she is even more frequently associated with Perseus, whom she assists to overcome and escape from the Gorgons.[360] She gives Kadmos the stone with which to slay the dragon,[361] and is also seen with Bellerophon,[362] Jason and the Argonauts,[363] and Oedipus.[364] She is present at the rape of Oreithyia by Boreas,[365] at the punishment of Ixion,[366] and at the setting out of Amphiaraos[367]; at the stealing of Zeus’ golden dog by Pandareos[368]; also at the rape of the Leukippidae by the Dioskuri,[369] and of Basile by Echelos (see p. 140),[370] and in a scene from the tragedy of Merope.[371] The scenes where she is assisting the Greek heroes in the Trojan War are almost too numerous to specify, her favourite being of course Achilles; her meeting with Iris (_Il._ viii. 409) is once depicted,[372] and she also appears in connection with the dispute over Achilles’ arms.[373] She is not so frequently seen with her other favourite, Odysseus, but in one instance she is present when he meets with Nausikaa,[374] and also when he blinds Polyphemos.[375] On the numerous vases representing Ajax and Achilles (or other heroes) playing at draughts, the figure or image of the goddess is generally present in the background.[376] The same type on B.F. vases is adopted for the subject of two heroes casting lots before her statue[377]; lastly, she appears as the friend and patron of Orestes when expiating the slaying of his mother.[378] As a single figure Athena is represented under many types and with various attributes, seated with her owl[379] or in meditation,[380] writing on tablets[381] or holding the ἀκροστόλιον of a ship[382]; playing on a lyre[383] or flutes,[384] or listening to a player on the flute or lyre[385]; with a man making a helmet,[386] or herself making the figure of a horse,[387] and in a potter’s workshop.[388] On an early vase she appears between two lions[389]; or she is accompanied by a hind (here grouped with other goddesses).[390] She is depicted running,[391] and occasionally is winged[392]; or she appears mounting a chariot, accompanied by various divinities.[393] As the protecting goddess of Attica she watches a combat of Greeks and Amazons[394]; she also attends the departure or watches combats of ordinary warriors,[395] or receives a victorious one.[396] In one instance she carries a dead warrior home.[397] There are many representations of her image, either as a ξόανον or cultus-statue, or recalling some well-known type of later art. Among the former may be mentioned her statue at Troy, whereat Kassandra takes refuge from Ajax,[398] and the Palladion carried off by Odysseus and Diomede.[399] Among the latter, three can be traced to or connected with creations of Pheidias: viz. the chryselephantine Parthenos statue[400]; the Lemnian type, holding her helmet in her hand (Plate XXXVI.)[401]; and the Promachos, in defensive attitude, with shield and spear.[402] The last-named type (earlier, of course, than the famous statue on the Acropolis) is that universally adopted for the figure of Athena on the obverse of the Panathenaic amphorae, on which she is depicted in this attitude between two Doric columns surmounted by cocks (on the later examples by figures of Nike or Triptolemos).[403] Her statue is also represented as standing in a shrine or heroön[404]; or as the recipient of a sacrifice or offering.[405] Her head or bust alone appears on several vases.[406] * * * * * =Ares=, in the few instances in which he appears on vases, is generally in a subordinate position; he is a spectator at the birth of Athena[407]; and appears twice on the François vase, at the wedding of Peleus and Thetis, and again in an attitude of shame and humility, to indicate the part he played in the story of Hephaistos and Hera; of his combat with the former god mention has already been made (p. 16). In the Gigantomachia his opponent is Mimas, with whom he also appears in single combat[408]; and he aids his son Kyknos against Herakles and Athena.[409] He is seen in several of the large groups of Olympian deities,[410] or in smaller groups, _e.g._ with Poseidon and Hermes,[411] with Apollo, Artemis, and Leto,[412] or with Athena[413] or his spouse Aphrodite[414]; also with Dionysos, Ariadne, and Nereus.[415] He also receives a libation from Hebe.[416] He is seen at the birth of Pandora,[417] the punishment of Ixion,[418] the slaying of the Niobids,[419] the apotheosis of Herakles,[420] and the contest of that hero with the Nemean lion.[421] In some cases his type is not to be distinguished from that of an ordinary warrior or hero, as in one case where he or a warrior is seen between two women.[422] * * * * * =Aphrodite= seldom appears as a protagonist on vases, and in fact plays a small personal part in mythology. Apart from scenes of a fanciful nature she is usually a mere spectator of events; but as she is not often characterised by any distinctive attribute, there is in many cases considerable difficulty in identifying her personality. This is especially the case on B.F. vases, on which her appearances are comparatively rare. One vase represents her at the moment of her birth from the sea in the presence of Eros and Peitho[423]; she also appears (on late vases only) with Adonis,[424] embracing him, and in two instances mourning for him after his death[425]; but caution must be exercised in most cases in identifying this subject, which is but little differentiated from ordinary love scenes. One scene apparently represents Zeus deciding a dispute between her and Persephone over Adonis.[426] More commonly she is seen riding over the sea on a goose or swan,[427] of which there is one exceedingly beautiful example in the British Museum; here she is to be recognised as the Heavenly Aphrodite (Ourania), whereas in her character of Pandemos (profane or unlicensed love) she rides on a goat.[428] In other instances the swan draws her chariot over the sea,[429] or she is borne by a pair of Erotes,[430] or sails in a shell, as in the story of her birth and appearance in the island of Kythera[431]; in others, again, her chariot is drawn (on land) by the Erotes,[432] or by a lion, wolf, and pair of boars.[433] She is also represented at her toilet[434] or bathing,[435] in the latter case in the attitude of the _Vénus accroupie_ of sculpture; in these instances again there is often difficulty in distinguishing from scenes of ordinary life. Again, she is represented spinning,[436] playing with a swan,[437] or caressing a hare,[438] or in company with a young hunter,[439] possibly meant for Adonis. [Illustration: From Ἐφ. Ἀρχ. 1897. FIG. 117. APHRODITE AND HER FOLLOWING (VASE AT ATHENS). ] In many scenes she is grouped with a cortège of attendant Nymphs and personified figures, often with names attached.[440] Besides Eros, the following are found on these vases: Pothos (Longing) and Himeros (Charm), Hygieia (Health), Peitho (Persuasion), Paidia (Play), Pandaisia (Good Cheer), Eunomia (Orderliness), Euthymia (Cheerfulness), Eudaimonia (Happiness), Hedylogos (Winning Speech), and Kleopatra (a fancy name). Eros himself she embraces[441] and suckles,[442] and in some cases he assists in her toilet, perfuming her hair from an unguent flask,[443] or adjusting her sandals[444]; he is seldom absent from her side on the later vases. In one instance Aphrodite and two Erotes make a basket of golden twigs.[445] Their heads or busts are also found on late vases, as is that of Aphrodite alone.[446] In relation to other mythological subjects she is frequently found in assemblies of the gods, especially in the spectator groups on Apulian vases[447]; also at the birth of Athena (rarely),[448] at the marriage of Zeus and Hera,[449] and in the Gigantomachia (very rare).[450] She is seen among the Eleusinian deities,[451] and in scenes from the nether world[452]; and she accompanies the chariots of Athena and Demeter.[453] She also accompanies Poseidon in his wooing of Amymone,[454] and is present at the slaying of Argos by Hermes,[455] the punishment of Aktaeon[456] and the contest of Apollo and Marsyas,[457] and the wooing of Europa by Zeus.[458] She is also grouped with Apollo and the Muses listening to Thamyris and Sappho.[459] She is seldom seen with Herakles, but is present at his apotheosis,[460] and also with him in the Garden of the Hesperides[461]; she is once seen with Theseus,[462] and is present at the rape of the Leukippidae by the Dioskuri.[463] Other heroes with whom she is connected (chiefly as a spectator on the Apulian vases) are Kadmos, Meleager, Perseus, and Pelops.[464] In the tale of Troy, however, she plays a more important part. The Judgment of Paris is, of course, the scene with which she is chiefly connected[465]; in one instance she appears alone with Paris, unless Anchises be here meant.[466] She is present at the first meeting and wedding of Peleus and Thetis[467]; at the toilet of Helen, and at her carrying off by Paris[468]; she assists her son Aeneas in his combat with Diomede,[469] and is present at the rape of Kassandra.[470] Helen takes refuge from Menelaos with her in her temple[471]; and finally she assists Aeneas to escape with the aged Anchises from Troy.[472] * * * * * Besides the scenes in which he appears with Aphrodite, =Eros= is a sufficiently important personage on vases to demand a section to himself. On the black-figured vases he never appears, nor on the earlier red-figured ones is it possible to find many instances, but towards the end of the fifth century his popularity is firmly established, while on the Italian vases, especially the the later Apulian, his presence is almost invariable, not only in mythological scenes, but in subjects from daily life. As a single figure he occurs again and again, generally holding a wreath, mirror, box, fan, or some object which may be regarded as signifying a lover’s present. Concurrently with his increasing popularity we note the change that comes over the conception of his personality. Beginning as a full-grown youth of fair proportions, his form gradually attenuates and becomes more juvenile, or even in some cases infantile, as in Hellenistic art; while on the Apulian vases it assumes an androgynous, altogether effeminate character. His hair is arranged in feminine fashion, and his person is adorned with earrings, bracelets, anklets, and chains, remaining otherwise entirely nude, except that he sometimes wears soft shoes of a feminine kind (see Plate XLIV. and Fig. 118). On the red-figured vases he generally appears as a single figure, though on those of the “fine” style he is often in attendance on Aphrodite; roughly speaking, it may be said that he figures in all scenes that deal with the passion of Love, such as the Judgment of Paris,[473] the story of Adonis,[474] the marriage of Dionysos and Ariadne,[475] or the love-affairs of Zeus, Poseidon, and other gods.[476] In other legends in which Love plays a part, such as the stories of Jason and Medeia,[477] Phaidra and Hippolytos,[478] Peleus and Thetis (or Theseus and Ariadne),[479] Pelops and Hippodameia,[480] Paris and Helen,[481] he is also to be seen; as also at the carrying off of Persephone.[482] Moreover, he occurs in several scenes where the reason is not so apparent, as at the birth of Erichthonios,[483] in the Garden of the Hesperides,[484] at the suckling of Herakles by Hera,[485] with Herakles and a Centaur,[486] and in the nether world[487]; also with deities such as Zeus, Athena, Nike, Helios and Selene, and Dionysos[488]; anointing the head of Apollo.[489] The cosmogonic conception of Eros and his connection with Gaia is referred to in the next chapter under the latter heading (p. 73). Two Erotes draw the chariot of Demeter and Persephone[490]; and he is also seen in company with the Nereids.[491] His presence in Dionysiac scenes, especially on the later vases, is often to be noted, though without any special meaning to be attached to it[492]; in one instance he is carried on the back of a Seilenos.[493] In many of these scenes he merely accompanies Aphrodite, and they do not therefore require enumeration. Lastly, he is seen in company with Sappho,[494] the great poetess of Love. In non-mythological scenes he is found almost as frequently, especially in toilet scenes,[495] or what we may regard as “scenes of courting”; but on the later vases these exhibit little or no action, and are not worth considering in detail, with a few exceptions. Thus we see Eros in marriage processions,[496] in musical scenes,[497] and at banquets[498]; at a sacrifice to a term[499]; watching girls play the game of _morra_[500] (“How many fingers do I hold up?”); swinging them, or being danced on their feet[501]; in scenes of fruit- and incense-gathering[502]; or pouring wine into a krater.[503] He appears with Agon (see p. 89) training in the palaestra.[504] He pursues a youth or a girl,[505] embraces a girl,[506] or is carried by her pick-a-back[507]; offers a hare to a youth,[508] or drives a youth with a whip from an altar[509]; and in one instance is about to chastise with a slipper two youths who are playing with a top and hoop[510]; these two latter scenes may be regarded as implying the power of Eros over youth. He is also seen shooting an arrow at a woman,[511] an idea characteristic of Anacreontic and Alexandrine poetry. Another scene which recalls the wall-paintings of the Hellenistic Age is on a vase in the British Museum, representing two Erotes being weighed in scales.[512] As a single figure he pursues a hare or kills a snake[513]; crouches before a plant[514]; is represented armed with shield and spear[515]; or places a sash or wreath on a tripod.[516] He is borne in a chariot by horses or swans,[517] or rides on a horse, deer, dog, or swan.[518] He is also seen playing various games, such as the _kottabos_ or _morra_,[519] see-sawing or playing knucklebones,[520] or with a ball or hoop or toy-boat.[521] Or he plays the flute or lyre[522]; or plays with animals, such as a deer, dove, swan[523]; or finally (on Apulian vases) with a toy which resembles a wheel, and was probably used for magic purposes, as several passages of literature indicate.[524] [Illustration: FIG. 118. EROS WITH KOTTABOS-STAND (BRIT. MUS.).] Lastly, we must give a survey of the frequent representations of Eros flying through the air carrying some attribute, which are so universal on the Italian vases, though some of the earliest types also represent him in this manner. Thus he carries a hare, or dove or other bird[525]; fruit (such as grapes or pomegranates), flowers, and branches[526]; wreaths, dishes of fruit, baskets, vases of various forms, and a spit of meat[527]; thyrsi, tambourines, lyres, torches, incense-burners, strigils, and ladders[528]; fans, parasols, mirrors, toilet-boxes, strings of beads, and sashes, or balls.[529] * * * * * Among the other associates of Aphrodite the chief are Peitho, Pothos, and Himeros, of whom mention has already been made. =Peitho=, except where her name is given, is not always easy to identify; the other two are not differentiated from Eros in form, and are, in fact, only variations of the conception of Love, as are the more rarely occurring Phthonos (_Amor invidiosus_)[530] and Talas (_Amor infelix_), the latter of whom is associated with Sappho.[531] Peitho is found with Himeros in one instance,[532] and in another with Eukleia[533]; she also accompanies Aphrodite in Eleusinian and other scenes,[534] at the deliverance of Andromeda,[535] in the Garden of the Hesperides,[536] and at the rape of Helen[537] and the Leukippidae,[538] and at the recovery of Helen by Menelaos[539]; she consoles her when mourning for Adonis[540]; and is present at the moment of her birth.[541] Like Eros, she is seen in company with Sappho,[542] and she also appears with Meleager and Atalante.[543] * * * * * =Pothos= and =Himeros= are seen floating over the sea with Eros on a fine R.F. vase in the British Museum,[544] and at the Judgment of Paris[545]; and grouped together generally as Erotes, they may be distinguished on some late vases. Pothos attends at the toilet of Helen,[546] and plays the flutes in a Dionysiac scene.[547] Himeros is seen swinging Paidia (another of Aphrodite’s following)[548]; at the marriage of Herakles and Hebe[549]; presenting a crown to Dionysos,[550] or removing his shoes,[551] and accompanying him in a scene of preparation for the Satyric drama.[552] * * * * * =Hermes=, the messenger of the gods, is a common figure on vases of all periods, but chiefly as a subordinate agent, though he plays a leading part in some scenes, and frequently occurs as a single figure.[553] Some small vases are decorated merely with his head, wearing the winged petasos.[554] He is represented passing over the sea with a lyre,[555] carrying a ram,[556] riding on a ram or goat,[557] or reclining on the latter animal[558]; also as making a libation[559] or sacrificing a goat.[560] He presides over the palaestra,[561] and is also seen standing between Sphinxes,[562] or again (apparently as a statue) standing by a fountain.[563] In one scene he leads a dog disguised as a pig,[564] and he is also represented tending a flock of sheep,[565] or fishing.[566] The story so vividly recounted in the Homeric hymn of his infantile theft of Apollo’s oxen is given in several scenes, including his taking refuge in his cradle (Fig. 119)[567]; he is also represented with his mother Maia,[568] and disputing with Apollo over the lyre which he invented.[569] The only other myth in which he plays a chief part is his pursuit of the Nymph Herse in the presence of her father Kekrops and her sister Aglauros.[570] He appears in the Gigantomachia (in one instance as Zeus’ charioteer),[571] frequently at the birth of Athena,[572] and with the bridal _cortège_ of Zeus and Hera[573]; also in numerous assemblies of the Olympian deities, especially on the Apulian vases.[574] He is present at the seizing of Ganymede,[575] and defends Hera against an attack of Seileni.[576] His slaying of Argos and deliverance of Io has already been mentioned[577]; and he assists in recovering the golden dog of Zeus which was stolen by Pandareos.[578] [Illustration: From _Baumeister_. FIG. 119. HERMES WITH APOLLO’S OXEN. ] He is present at the return of Hephaistos,[579] at Poseidon’s capture of Amymone,[580] with Aphrodite mourning for Adonis,[581] and with Apollo slaying Tityos and the Niobids and contending with Marsyas,[582] also at his reconciliation with Herakles.[583] He accompanies the chariots of Poseidon, Apollo, and Athena,[584] and also those of mortals, especially in wedding processions[585]; and he is also seen with Eos and Selene,[586] Kastor and Polydeukes,[587] Prometheus,[588] Leda at the finding of the egg,[589] and at the birth of Pandora.[590] He is specially associated with Zeus, Apollo, Athena, and Dionysos,[591] and also appears with Aphrodite Pandemos[592]; he is not infrequently found in Dionysiac scenes[593]; and to him is entrusted the newly born Dionysos to be handed over to the Nymphs of Nysa.[594] On B.F. vases he is frequently seen leading a procession of Nymphs.[595] As a Chthonian deity he is present in many scenes relating to the nether world, especially on the large Apulian vases,[596] and in connection with the Eleusinian myths, such as the carrying off of Persephone.[597] As Psychagogos or Psychopompos he is seen in Hades waiting to conduct Persephone to earth, or actually _en route_ with her.[598] He frequently performs the same office for mortals, conducting them to Charon’s bark.[599] He is also found in company with Thanatos,[600] and with Herakles bringing back Alkestis.[601] A unique scene with Hermes in his Chthonian capacity is on a vase where he is represented chaining up Kerberos[602]; and another, yet more curious, depicts him standing by a jar (πίθος) from which a number of small winged figures (εἴδωλα or ghosts) are flying out, with a supposed reference to the Athenian festival of the Πιθοίγια.[603] In the stories of Herakles he plays an important part, as also in those of Theseus and other heroes, and he is frequently visible in scenes from the Trojan legends. He conveys the infant Herakles to Cheiron for instruction,[604] and conducts the hero to Hades to fetch Kerberos[605]; he is also seen feasting or bathing with him,[606] and in company with him and Athena,[607] and most frequently in connection with his apotheosis.[608] With Theseus he is found more rarely[609]; but he frequently accompanies Perseus in his flight from the Gorgons.[610] In other heroic scenes he is often one of the spectator deities on Apulian vases. In one instance he is seen banqueting with an unidentified hero.[611] In the Trojan legends his chief appearance is as conductor of the goddesses to the Judgment of Paris[612]; and in one case he accompanies Peleus when bringing the infant Achilles to Cheiron.[613] He also assists Zeus in weighing the souls of Achilles and Hector,[614] conducts Priam to Achilles,[615] and is present in many other scenes which need not be recounted in detail. A scene difficult of explanation represents him accompanying Odysseus in a chariot.[616] A Herm or terminal figure of Hermes is a not uncommon feature on vases, especially of the R.F. period,[617] and generally as the object of a sacrifice made to it.[618] Last of the Olympian deities comes =Hestia=, who is usually coupled with Hermes; she, however, only appears on a few vases in gatherings of the Olympian deities,[619] as on the François vase, where she attends the nuptials of Peleus and Thetis, and at the marriage of Herakles and Hebe.[620] ----- Footnote 1: _Il._ xi. 635: cf. Athen, xi. 489 F. Footnote 2: i. 27 ff.: cf. Vol. I. p. 180. Footnote 3: Athenaeus, xi. p. 489 B. Footnote 4: _Ibid._ p. 782 B. Footnote 5: _Od._ 5. Footnote 6: _H.N._ xxxiii. 155. Footnote 7: _Ibid._ 156. Footnote 8: Mart. viii. 51: cf. Juv. i. 76. Footnote 9: Stat. _Theb._ i. 543. Footnote 10: Virg. _Ecl._ iii. 46. Footnote 11: Schreiber, _Alexandr. Toreutik, passim_; Robert in _50^{tes} Winckelmannsfestprogr._ 1890. Footnote 12: Suet. _Ner._ 47: see Vol. I. pp. 134, 185, 499. Footnote 13: Cf. Miss Harrison, _Mythol. and Monum. of Athens_, p. ii; and see Vol. I. p. 13. Footnote 14: See on this subject _J.H.S._ xiii. p. 83. Footnote 15: _Art. Poet._ 147. Footnote 16: See Luckenbach in _Jahrb. für Class. Phil._ Suppl.-Bd. xi. (1880), p. 575 ff. Footnote 17: _Op. cit._ p. 493 ff. Footnote 18: The only exceptions are in the Panathenaic contests, which are of course not epic: cf. B.M. B 130–31. Footnote 19: See on this subject _Comm. in hon. T. Mommseni_, p. 163 ff.; _Arch. Zeit._ 1876, p. 116; Dumont-Pottier, i. p. 366, and, _J.H.S._ x. p. 13 ff. Footnote 20: Luckenbach, _op. cit._ p. 560 ff. Footnote 21: There is only one vase (Naples 2296 = Reinach, _Répertoire_, i. 476) on which the names of the Nereids are derived from Homer. Footnote 22: _Op. et Di._ 60 ff.; _Scut._ 345 ff., 178, 216; _Theog._ 820, 924 ff. Footnote 23: See _J.H.S._ xviii. p. 267. Footnote 24: Vol. I. p. 472: see also below, p. 159. On the subject generally see Vogel, _Scenen Eur. Trag._; Huddilston, _Gk. Tragedy in Vase-paintings_; Engelmann, _Arch. Studien zu den Tragikern_. Footnote 25: Reinach, i. p. 114. Footnote 26: _Op. cit._ p. 636. Footnote 27: See for further details of early theories Vol. I. p. 21. Footnote 28: _E.g._ the B.F. hydriae with water-drawing scenes; the funeral lekythi; and the R.F. cups with their subjects relating to banquets and revels. Footnote 29: See also Chapters VI.–XI. throughout. Footnote 30: Morgenthau, _Zusammenhang d. Bilder auf gr. Vasen_. Footnote 31: Cf. for instance E 39, 45, 47, 48, in B.M. Footnote 32: See below, p. 108. Footnote 33: See p. 134. Footnote 34: This subject has been admirably treated by Wickhoff in his _Roman Art_ (Eng. edn.), p. 13 ff. Footnote 35: The publication of this vase by Furtwaengler and Reichhold, _Gr. Vasenmalerei_, pls. 1–3, 11–13, with full discussion of subjects and technical details, has now superseded all previous illustrations. The only other complete ones were in _Mon. dell’ Inst._ iv. 54–8 (Reinach, i. p. 134–36) and _Wiener Vorl._ ii. pls. 1–5. The general view given in Plate XXVIII. is reproduced from the first-named work. Footnote 36: For the abbreviations used in the following notes see the Bibliography (Vol. I.). Footnote 37: Munich 125 = Reinach, ii. 120 = Furtwaengler and Reichhold, pl. 32; B.M. F 237: cf. also B.M. B 62. Footnote 38: The best and most complete examples are as follows:—B.F.: B.M. B 208; Reinach, i. 162 = Louvre E 732. R.F.: B.M. E 47, 469; Berlin 2293, 2531 (both in _Wiener Vorl._ i. pls. 8 and 5; the latter very good); Bibl. Nat. 573 = Reinach, ii. 256. Best of all (late R.F.), a grand vase found in Melos (_Monum. Grecs_, 1875, pt. 4, pls. 1–2 = _Wiener Vorl._ viii. 7), on which no less than eighteen deities are engaged, but none of the giants are named. Hera, Hephaistos, and Amphitrite are absent. Figs. 111 and 112 give two of these—E 732 in Louvre, and the interior of Berlin 2531. Footnote 39: _Arch. Anzeiger_, 1890, p. 8. Footnote 40: Reinach, ii. 188 = _Él. Cér._ i. 5. Footnote 41: B.M. E 47; Berlin 2293. Footnote 42: B.M. B 253, E 443 (and see p. 56). Footnote 43: _Bull. de Corr. Hell._ xx. (1896), pl. 7: cf. the archaic frieze of the Siphnian treasury at Delphi. Footnote 44: B.F.: B.M. B 147 (a very fine early example, but much restored), 244 (Fig. 113), 424; Berlin 1704 (also good). R.F.: B.M. E 15, E 410 (fine); Reinach, ii. 207. Footnote 45: Reinach, i. 171. Footnote 46: Reinach in _Revue des Études Grecques_, 1901, p. 127, traces the subject to a Megarian origin. Footnote 47: _B.M. Vases_, ii. p. 11. Footnote 48: B.M. B 147, 218, 244. Footnote 49: _Cat._ 444. Footnote 50: See B.M. B 157, B 341; also Berlin 1899 (= _Él. Cér._ i. 22) and Reinach, ii. 21, 2. Footnote 51: _E.g._ B.M. B 197 (a fine vase, by Amasis?) and B 298: see on the subject Foerster, _Hochzeit des Zeus und Hera_. Footnote 52: B.M. E 82; Wernicke, _Ant. Denkm._ pl. 1, 7 = Reinach, ii. 266. Footnote 53: Petersburg 355 = Reinach, i. 14 = _Wiener Vorl._ iii. 5 (also interpreted as a sculptor finishing off a statue of Hera). Footnote 54: B.M. F 269 (gods nicknamed respectively Daidalos and Enyalios). Footnote 55: B.F.: François vase; B.M. B 42 (Plate XXI.), 264; Vienna 218; Athens 628 = _Ath. Mitth._ 1894, pl. 8. R.F.: Bibl. Nat. 539 = Reinach, ii. 261; Reinach, ii. 3 = Millin-Reinach, i. 9; Reinach, ii. 311; Munich 776 = Baumeister, i. p. 644, fig. 714 = Furtwaengler and Reichhold, pl. 29; Munich 780 = _Él. Cér._: i. pl. 46 A = _Wiener Vorl._ i. 9, 3. Footnote 56: See below, p. 107; the best examples are Berlin 2278 = _Ant. Denkm._ i. 9 (Sosias); B.M. B 379; Reinach, ii. 76 (in Berlin). Footnote 57: B.M. B 345; E 67, 444; Berlin 2060; Reinach, i. 157, 1, 2 and 203 = Baumeister, iii. pl. 93, fig. 2400 (by Oltos and Euxitheos, a very fine example); a late instance, Petersburg 419 = Reinach, i. 161. Footnote 58: Reinach, i. 98; 194 (Dareios in council). Footnote 59: B.M. F 278; Reinach, i. 379. Footnote 60: B.M. F 271. Footnote 61: B.M. F 279. Footnote 62: Numerous examples will be found in the pages of Reinach’s _Répertoire_. Footnote 63: Rape of Persephone: Reinach, i. 99; other scenes, _ibid._ i. 355; B.M. F 270. Footnote 64: E 668 = Reinach, i. 435; and cf. Jatta 1405 = Reinach, i. 483; Bibl. Nat. 489. Footnote 65: Reinach, ii. 287. Footnote 66: B.M. B 425: cf. _Mus. Greg._ ii. 21, 1. Footnote 67: _Él. Cér._ i. 82 (also i. 22?), and Vienna 329. Footnote 68: _Él. Cér._ ii. 30 (may be Poseidon); Micali, _Mon. Ined._ 37, 3; B.M. E 432 (Artemis); Naples S.A. 702 = Reinach, i. 499 and Reinach, ii. 183 (Aphrodite); Bibl. Nat. 229 (Zeus with Hera, Athena, Ares, and Hermes); _Arch. Anzeiger_, 1898, p. 189, and _Boston Mus. Report_, 1899, No. 15 (with Hermes). Footnote 69: B.M. B 166, B 379, B 424, E 262; Furtwaengler and Reichhold, 20; Berlin 1857 (H. plays lyre); Petersburg 1775 = _Wiener Vorl._ iii. 9, 1 = Reinach, i. 302 (parody): and see below, p. 107. Footnote 70: Reinach, i. 156, 1. Footnote 71: _Él. Cér._ i. 14 (now in B.M.); Munich 345 = Reinach, i. 66. Footnote 72: _Arch. Anzeiger_, 1895, p. 38 (fine polychrome pyxis in Berlin). Footnote 73: B.M. E 381; _Él. Cér._ i. 20. Footnote 74: B.M. F 278; Roscher, iii. p. 969. Footnote 75: Hartwig, _Meistersch._ pl. 68 (in Louvre): cf. Eusebius, _Prep. evang._ iii. 84_b_. Footnote 76: _Él. Cér._ i. 29A (doubtful). Footnote 77: Reinach, i. 335, 2. Footnote 78: _Él. Cér._ i. 18 (= Helbig, ii. p. 310, No. 104); Bibl. Nat. 416 = Reinach, i. 472; Berlin 2032 = Reinach, i. 334. Footnote 79: _Röm. Mitth._ 1887, pl. 10. Footnote 80: B.M. F 542. Footnote 81: B.M. E 313; Reinach, i. 408. Footnote 82: Petersburg 1792 = Reinach, i. 1: see Robert, _Arch. Märchen_, pl. 2, p. 179 ff. Footnote 83: Petersburg 1793 = Reinach, i. 3; Bibl. Nat. 219 = _Mon. Ant. di Barone_, pl. 1; _Boston Mus. Report_, 1895, No. 27: see also for the first Robert, _Arch. Märchen_, pl. 3, p. 189. Footnote 84: B.M. E 182; Bibl. Nat. 440 = Reinach, ii. 260; and see p. 55, note 644. Footnote 85: B.M. F 150; _Jahrbuch_, i. (1886), p. 276 (see Vol. I. p. 473). Footnote 86: B.M. F 149 (signed by Python) = _J.H.S._ xi. pl. 6; B.M. F 193. Footnote 87: B.M. F 286; Reinach, i. 278. Footnote 88: B.M. E 711; Petersburg 1723 = Baumeister, i. p. 406, fig. 447 (both R.F.). Footnote 89: Aegina: Helbig, ii. p. 311, No. 113 = Wernicke, _Ant. Denkm._ 6, 4; Berlin 3239 = _Él. Cér._ i. 17; _Boston Mus. Report_ for 1895, No. 39 (a sister brings the news to her father Asopos). Thaleia: Reinach, ii. 285 = _Él. Cér._ i. 16 = Wernicke, 6, 3. Footnote 90: Reinach, ii. 144: see below, p. 82. Footnote 91: B.F.: Louvre E 696 = Reinach, i. 162; Athens 853 = Reinach, i. 507; _id._ ii. 49. R.F.: B.M. E 231; Munich 208 = Jahn, _Entführung d. Europa_, pl. 7 (polychrome on white); Petersburg 1637 = Reinach, i. 24, and 1915 = Reinach, i. 22 (Europa brought to Zeus). Late: B.M. F 184; Naples 3218 = Jahn, _op. cit._ pl. 1 (Eros on bull). Footnote 92: Helbig, ii. p. 312, No. 118 = Overbeck, _Kunstmythol. Atlas_, pl. 6, fig. 13. Footnote 93: See generally _Boston Mus. Report_, 1900, p. 62, and _Jahrbuch_, 1903, p. 37; also _Wiener Vorl._ 1890–91, pl. 12. Footnote 94: Berlin 3164, and Reinach, ii. 16 = _Él. Cér._ i. 25, 26. Footnote 95: Reinach, i. 407. Footnote 96: _Ibid._ i. 111, 1 = Berlin 2651 (R.F.), and 111, 2 = Munich 573 = _Wiener Vorl._ 1890–91, pl. 12, 1 (B.F.); _Boston Mus. Report_, 1900, No. 21. Footnote 97: B.M. B 164; Bibl. Nat. 302 = _Él. Cér._ iii. 97; Reinach, i. 363; Vienna 338 = _Wiener Vorl._ 1890–91, pl. 11, 1 = Fig. 114; _ibid._ i. 111, 4 = Jatta 1498 = _Wiener Vorl._ 1890–91, pl. 12, 2. Footnote 98: See generally Overbeck, _Kunstmythol._ ii. p. 27 ff., 181 ff. Footnote 99: Reinach, i. 388. Footnote 100: See p. 101; Zeus defending Athena against Ares after the combat, _Arch. Anzeiger_, 1898, p. 51 (Boston vase). Footnote 101: See p. 130. Footnote 102: B.M. E 140; Reinach, i. 342, 405, 452; _ibid._ i. 229; i. 235. Footnote 103: B.M. E 467 and _J.H.S._ xxi. pl. 1; Petersburg 1807 = Reinach, i. 7. Footnote 104: B.M. B 316; E 224; Naples 2638 = Reinach, i. 78. Footnote 105: Munich 745 = Furtwaengler and Reichhold, pl. 16. Footnote 106: See p. 141. Footnote 107: See above, p. 16. Footnote 108: Munich 336 = Overbeck, _Kunstmythol. Atlas_, pl. 9, 19; head only, _Él. Cér._ i. 29; also perhaps in Naples 2900 = Baumeister, iii. p. 1653, fig. 1714; but more probably Aphrodite is intended. Footnote 109: Overbeck, _op. cit._ iii. p. 18; Reinach, i. 231, ii. 16. Footnote 110: _Él. Cér._ i. 34. Footnote 111: Bibl. Nat. 542 = Reinach, i. 141. Footnote 112: Reinach, i. 388. Footnote 113: B.M. E 155. Footnote 114: B.M. E 467. Footnote 115: B.M. B 164; Berlin 3164; Reinach, i. 111, 4. Footnote 116: B.M. F 107. Footnote 117: Naples 2873 = Millin-Reinach, i. 3: cf. B.M. F 148 and Reinach, i. 301. Footnote 118: Reinach, ii. 4. Footnote 119: B.M. B 379; Berlin 2278; Furtwaengler and Reichhold, 20. Footnote 120: Bibl. Nat. 253 = Reinach, i. 399. Footnote 121: B.M. B 57: cf. the Hera αἰγοφάγος at Sparta (Paus. iii. 15, 9). Footnote 122: Petersburg 1792 = Reinach, i. 1; Bibl. Nat. 219. Footnote 123: _Bull. de Corr. Hell._ 1898, p. 586. Footnote 124: Jatta 1093 = Reinach, i. 175. Footnote 125: Reinach, i. 463. Footnote 126: Naples 2202 = Dubois-Maisonneuve, _Introd._ pls. 45–46. Footnote 127: Reinach, ii. 9, 321 and _Él. Cér._ i. 30 (Hebe); Reinach, ii. 325 (Iris). Footnote 128: B.M. E 65 = Reinach, i. 193. Footnote 129: B.M. B 147, E 410. Footnote 130: B.M. B 197. Footnote 131: B.M. E 82; Berlin 2278 = _Ant. Denkm._ i. 9. Footnote 132: See above, p. 13 (esp. Berlin 2531 (Fig. 112), Reinach, ii. 188 = _Él. Cér._ i. 5, _Boston Mus. Report_, 1898, No. 41, and Helbig, ii. p. 304, No. 81 = _Mus. Greg._ ii. pl. 56, 1); B.M. B 166; Berlin 2278; Reinach, ii. 76; Louvre F 30 = _Rev. Arch._ xiii. (1889), pl. 4 (by Amasis). Footnote 133: B.M. B 425: cf. _Mus. Greg._ ii. 21, 1. Footnote 134: B.M. B 212, B 262, and Reinach, ii. 23, 30 = Munich 145 (Apollo); _Boston Mus. Report_, 1896, No. 1, and Athens 750 (Hermes); Athens 838, _Él. Cér._ ii. 30(?), iii. 13, 36 A (Athena and Hermes); B.M. B 191 (Ares and Hermes), B 228 (Athena, Ares, Herakles); _Bourguignon Sale Cat._ 41 (Apollo, Eros, Nereids, Papposilenos). Footnote 135: B.M. E 140. Footnote 136: Reinach, ii. 35; and see B.M. E 445. Footnote 137: Berlin 347–473 (alone), 474–537 (with A.): see also 787–833; specimens published in _Ant. Denkm._ i. pls. 7–8 (_e.g._ Fig. 115 = Berlin 495). Footnote 138: B.M. E 322; Berlin 2164; Bibl. Nat. 363 = Reinach, ii. 257, 4; _ibid._ ii. 22, 8; Petersburg 1531, 2164. With Amphitrite pouring a libation: _Wiener Vorl._ vii. 2 (Duris in Louvre). Footnote 139: Reinach, ii. 35. Footnote 140: Athens 880; Bibl. Nat. 314. Footnote 141: Berlin 1869; Athens 836; Reinach, ii. 22; B.M. B 254 (Ἀφροδίτη inscribed by error for Ἀμφιτρίτη). Footnote 142: Naples 3219 = Reinach, i. 125. Footnote 143: _Él. Cér._ iii. 14. Footnote 144: Plate L.: cf. Bibl. Nat. 222 = Reinach, ii. 251 = Rayet and Collignon, p. 121. Footnote 145: Reinach, i. 124, 465, ii. 22 (Jatta 1346), 181; Athens 1171 = Heydemann, _Gr. Vas._ pl. 2, 1. Amymone alone may be intended on Bibl. Nat. 359. Footnote 146: B.M. E 174; Reinach, ii. 23 = Helbig, ii. p. 309, No. 102. Footnote 147: Bibl. Nat. 432 = Millin-Reinach, ii. 20; _Él. Cér._ iii. 20–25; Bibl. Nat. 370; Reinach, i. 286 = _Wiener Vorl._ viii. 2, by Brygos (perhaps the Nymph Salamis: cf. _J.H.S._ ix. p. 56; the scenes on the exterior of this cup may refer to Kychreus, the son of Poseidon and Salamis, and the snake slain by him). Athens 1551 = Heydemann, _Gr. Vas._ pl. 1, fig. 2, seems to represent Poseidon pursuing a Nereid. Footnote 148: _J.H.S._ xviii. pp. 277–79, and cf. pl. 14 (Louvre G 104, by Euphronios), where Theseus is received by Amphitrite. Footnote 149: Bibl. Nat. 418 = _J.H.S._ xviii. p. 278. Footnote 150: B.M. E 264. Footnote 151: Reinach, i. 361. Footnote 152: _E.g._ i. 36. Footnote 153: Reinach, i. 108, 195; Berlin 2634; Reinach, i. 379; i. 99; B.M. E 467; B.M. F 279; Reinach, i. 98. Footnote 154: B.M. B 196, Munich 114 = Reinach, i. 422; Reinach, ii. 61; and see B.M. B 228; Reinach, i. 301; ii. 66 (Kyknos). Footnote 155: B.M. B 57. Footnote 156: _Ath. Mitth._ 1886, pl. 10 (with the Graiae); _Mon. Grecs_, 1878, pl. 2 (in Louvre). Footnote 157: Millin-Reinach, ii. 4. Footnote 158: B.M. B 428 = Roscher, iii. 247. Footnote 159: B.M. E 9, 73; Reinach, i. 64, i. 78 (= Naples 2638), ii. 278; _Wiener Vorl._ vii. 2 (Duris in Louvre); Munich 369 = Furtwaengler and Reichhold, 24 (Hieron): all R.F. See also p. 120. Footnote 160: B.M. B 201; Reinach, i. 346, 6–7. Footnote 161: B.M. B 225, E 162; Bibl. Nat. 255 = Reinach, ii. 61. See p. 101. Footnote 162: Reinach, i. 339. Footnote 163: Berlin 1732 = Reinach, ii. 66 (inscribed Ἅλιος Γέρων). Footnote 164: Reinach, ii. 76. Footnote 165: Naples 3352 = Reinach, i. 485. Footnote 166: B.M. B 551. Footnote 167: Athens 1551. Footnote 168: B.M. E 109; Berlin 1676 = Reinach, ii. 22; Louvre F 148. Footnote 169: B.M. B 223, 311; Reinach, i. 227, ii. 61, 1. See p. 101. Footnote 170: _J.H.S._ xviii. p. 277. Footnote 171: Naples 3412 = Reinach, i. 498. Footnote 172: B.M. B 166 (Palaimon?), E 156 (Leukothea: see p. 136); Reinach, i. 319 (Ino?): for possible instances of Melikertes see Berlin 779, 780, 914, and Roscher, ii. p. 2635. Footnote 173: Naples 1767 = Engelmann-Anderson, _Atlas to Homer_, _Od._ pl. iv. 22; B.M. B 201. Footnote 174: B.M. F 218. Footnote 175: Berlin 1007, 1008; _Él. Cér._ iii. 31 and 32 B (fem.); see Vol. I. p. 314. Footnote 176: _Ant. Denkm._ i. 59 (Branteghem Coll. 85); B.M. E 774 (names given to fancy scene): see also Munich 331; Naples 2638 = Reinach, i. 78, 2; and Kretschmer, _Gr. Vaseninschr._ p. 200. Footnote 177: See p. 25, note 159; also Reinach, p. 231. Footnote 178: B.M. F 69; Jatta 1496 = Reinach, i. 112; Reinach, i. 300; Roscher, iii. 221–24: see generally Heydemann’s _Nereiden mit Waffen_. Footnote 179: Louvre E 643 = Reinach, i. 311. Footnote 180: Reinach, i. 83, 232. Footnote 181: _Ibid._ ii. 61. Footnote 182: Berlin 3241 = Roscher, iii. 218; Petersburg 1915 = Reinach, i. 21. Footnote 183: Reinach, i. 286. Footnote 184: B.M. B 155. Footnote 185: _Bourguignon Sale Cat._ 41; and in assemblies of the gods, Reinach, ii. 76. Footnote 186: Naples 3222 = Reinach, i. 167. Footnote 187: Vase in Boston (1900 Report, No. 4): cf. for a Nereid(?) with dolphins, Louvre G 3. Footnote 188: _Mon. Grecs_, 1875, pt. 4, pls. 1–2. Footnote 189: The best example is a votive plaque found at Eleusis in 1895 (Athens 1968 = Ἐφ. Ἀρχ. 1901, pl. 1): see also Petersburg 1792 and 525 = Reinach, i. 1 and 11 = Baumeister, i. pp. 474–75. Footnote 190: For other deities in Eleusinian scenes, see under Aphrodite, Hermes, Dionysos, Hekate. Footnote 191: B.M. F 68. Footnote 192: _Rev. Arch._ xxxvi. (1900), p. 93. Footnote 193: Petersburg 1792–93 = Reinach, i. 1, 3. Footnote 194: Reinach, ii. 32; B.M. F 90. Footnote 195: Reinach, ii. 321; Athens 1844 = _Ath. Mitth._ 1881, pl. 4. Footnote 196: Athens 1626 = Dumont-Pottier, pl. 37. Footnote 197: _Arch. Anzeiger_, 1895, p. 39 (Berlin): cf. Ἐφ. Ἀρχ. 1893, pl. 9, and see p. 140 below. Footnote 198: Berlin 1704 = Reinach, i. 197. Footnote 199: Berlin 2634. Footnote 200: Athens 1120 = _Ath. Mitth._ 1901, pl. 8. Footnote 201: Reinach, ii. 329 (very dubious): cf. a terracotta from Cyprus in B.M. (A 326). Footnote 202: B.F.: Reinach, ii. 32–33. R.F.: B.M. E 140 (Plate LI.); E 183, E 281, E 469; Petersburg 1207 = Reinach, i. 10; _Wiener Vorl._ iv. 7, 4. Late: Petersburg 350 = Reinach, i. 12; Helbig, 127 = Millin-Reinach, ii. 31, and 152 = Reinach, ii. 34; _Wiener Vorl._ i. 6. Footnote 203: _Él. Cér._ iii. 62; a newly acquired R.F. amphora in B.M.: see also Roscher, _E.g._ Keleos, p. 1028; Reinach, i. 286 (?); Munich 336. Footnote 204: B.M. E 274 and Munich 299: see Overbeck, _Kunstmythol._ iii. p. 535. Footnote 205: Bibl. Nat. 424 = Reinach, i. 463. Footnote 206: _Ath. Mitth._ 1899, pl. 7. Footnote 207: Naples S.A. 11 = Reinach, i. 401. Footnote 208: Reinach, i. 124. Footnote 209: _Ibid._ i. 156, 1: see Apollod. iii. 14, 4, and Hygin. _Astron._ ii. 7. Footnote 210: B.F.: B.M. B 310. R.F.: Reinach, i. 99, 156, 2; B.M. F 277; Baumeister, i. pl. 7, fig. 462: and see Helbig, 144 = Overbeck, _Kunstmythol. Atlas_, 18, 12. Footnote 211: See below, p. 67; also Berlin 1844 and _Mus. Greg._ ii. 21, 1, for earlier examples. Footnote 212: Reinach, i. 389 and 401 (= Naples S.A. 11); _ibid._ ii. 70. Footnote 213: B.M. E 82, F 68. Footnote 214: B.F.: B.M. B 261; Munich 728 = Reinach, ii. 48. Late: B.M. F 332 = Plate XLV. Footnote 215: Reinach, i. 522, 1 = Roscher, ii. p. 1378; Baumeister, i. p. 423, fig. 463 (inscribed). Footnote 216: Reinach, i. 228 (Berlin 2646) and 348 (Boston); _Arch. Anzeiger_, 1895, p. 37 (Berlin); Harrison, _Prolegomena to Gk. Religion_, p. 277 (vase in Dresden; Satyrs astonished; Hermes present). Footnote 217: Reinach, i. 144 = Louvre F 311 = Baumeister, i. p. 445, fig. 493. Footnote 218: Robert, _Arch. Märchen_, p. 198 ff.: see _J.H.S._ xix. p. 232, xx. p. 106 ff., and _Jahrbuch_, vi. (1891), p. 113; also below, under Ge-Pandora (p. 73), and Harrison, _Prolegom. to Gk. Religion_, p. 277 ff. Footnote 219: For a more complete tabulation see Overbeck, _Kunstmythologie_, vol. iv., especially pp. 42 ff., 322 ff.; also the plates of vol. ii. of the _Él. Cér._, and the Atlas to Overbeck, pls. 19 to end. Footnote 220: Bibl. Nat. 367 = Reinach, ii. 257. Footnote 221: B.M. B 260, 681. Footnote 222: B.M. B 592; Berlin 1868. Footnote 223: _Él. Cér._ ii. 3; ii. 6A = Petersburg 411. Footnote 224: B.M. B 195, F 145(?); Berlin 1867; Reinach, ii. 29. Footnote 225: Reinach, ii. 286. Footnote 226: B.M. E 80. Footnote 227: B.M. E 516; _Él. Cér._ ii. 4. Footnote 228: B.M. E 232; Reinach, ii. 157, 296; _Wiener Vorl._ A. 10, 2. Footnote 229: B.M. E 543; Reinach, ii. 228; Berlin 2641 = _Él. Cér._ ii. 44. Footnote 230: Helbig, 97 = Reinach, i. 79 = Baumeister, i. p. 102, fig. 108. Footnote 231: Millin-Reinach, i. 46; Petersburg 411 = _Él. Cér._ ii. 6A. Footnote 232: B.M. F 311; Naples 2902 = _Él. Cér._ ii. 97A. Footnote 233: Reinach, ii. 310 = _Él. Cér._ ii. 65. Footnote 234: B.M. B 260, 548, E 274, 383, 514; Brygos vase in Louvre = Reinach. i. 246; Naples R.C. 169 = Reinach, i. 313 (Artemis with torch; localised at Delphi by a crow on the omphalos). Footnote 235: _Él. Cér._ ii. 10 (Berlin 2206) and 32; Vienna 331; Reinach, ii. 27; B.M. E 579; _Forman Sale Cat._ 356. Footnote 236: B.M. E 262; Reinach ii. 26 (= Louvre F 297), 284 (?); on Melian amphora (Athens 475 = Rayet and Çollignon, pl. 3), Apollo in chariot, before which stands Artemis with stag. Footnote 237: B.M. B 680, E 256; Reinach, ii. 27–8, 45 (Naples S.A. 192); Athens 1342. Footnote 238: Athens 1962 (Leto about to bring forth, assisted by Eileithyia). Footnote 239: B.M. B 168, 213; _Mus. Greg._ ii. 39, 1 a; _Él. Cér._ ii. 2. Nyx (Night) was similarly represented on the Kypselos chest (Paus. v. 18, 1). Footnote 240: Reinach, ii. 310. Footnote 241: Berlin 2212 = Overbeck, _Kunstmythol._ iv. p. 378; Bibl. Nat. 306 = _Él. Cér._ ii. 1 A. Footnote 242: Berlin 2645 = Reinach, i. 397 (Apollo on omphalos, with hind); Reinach, ii. 26 (Louvre F 297), 28 (Bibl. Nat. 443), i. 184 (Fig. 116); B.M. E 502 (omphalos); Athens 1362 (by Mys, a fine example). Footnote 243: Reinach, ii. 29; B.M. B 215, 245; Petersburg 9 = Reinach, ii. 24 (Apollo crowned by woman); _Él. Cér._ ii. 39; Bibl. Nat. 428; Munich 157. Footnote 244: B.M. B 212, 262; Reinach, ii. 23, 323; _Él. Cér._ ii. 30 (?), 36 C: and cf. _Bourguignon Sale Cat._ 41. Footnote 245: B.M. B 238; Reinach, ii. 24 (Munich 47), 25, 30; Naples 1891 = _Él. Cér._ ii. 35; Munich 609 = Reinach, ii. 42. Footnote 246: B.M. F 311, 399. Footnote 247: B.M. E 785. Footnote 248: Reinach, ii. 183. Footnote 249: _Ibid._ ii. 25 (?), 32, 72–73; B.M. B 203, and _Wiener Vorl._ 1889, pl. 6, 1; and see generally Overbeck, _Kunstmythol._ iv. p. 51. Footnote 250: B.M. B 199–201, 211, etc.; Reinach, ii. 72; Berlin 1827 (all B.F.). Footnote 251: B.M. B 6; see Vol. I. p. 344. Footnote 252: Reinach, i. 253; _Él. Cér._ ii. 47–48 (also Iris). Footnote 253: Naples 1762 = Millingen-Reinach, 29. Footnote 254: B.M. B 259, 261; E 323, 415; _Él. Cér._ ii. 13 (= Reinach, ii. 27). In some of these Artemis may be intended. Footnote 255: Berlin 2388; _Él. Cér._ ii. 79, 80, 83, 86 (a fine example); Jatta 1538 = Reinach, i. 526; Helbig, 133 = _Mus. Greg._ ii. 15, 2; and cf. _Boston Mus. Report_ for 1898, No. 54 (A. as a neat-herd?). Footnote 256: B.M. B 197, 298; B.M. B 257, Reinach, ii. 154, and Millingen-Reinach, 44. Footnote 257: _Wiener Vorl._ C. 7, 3 = Roscher, ii. 842. Footnote 258: B.M. B 195, 255–56, 258; F 77; Reinach, ii. 23. Footnote 259: Petersburg 1807 = Reinach, i. 8 = Baumeister, i. p. 104, fig. 110. Footnote 260: Munich 62 = Reinach, ii. 75. Footnote 261: B.M. B 179. Footnote 262: Reinach, ii. 31. Footnote 263: Reinach, ii. 287 = _Él. Cér._ ii. 62 (inscribed ΑΕΛΙΟΣ: see below, p. 78). Footnote 264: Millin-Reinach, i. 54. Footnote 265: B.F.: _Ant. Denkm._ i. 22. R.F.: B.M. E 81; Reinach, i. 227 = Vol. I. p. 442. Late: Jatta 424 = Reinach, i. 463; Naples 3246 = Roscher, iii. 407 (Niobe at grave of children). Footnote 266: B.F.: Reinach, i. 244 (= Louvre E 864), 245; Bibl. Nat. 171 = _ibid._ ii. 252. R.F.: B.M. E 278. Footnote 267: Louvre G 42 = Reinach, ii. 26. Footnote 268: B.M. E 64 (= Reinach, i. 111), E 170 (= _E.g._ i. 185); _Él. Cér._ ii. 21; and see Millin-Reinach, i. 71. Footnote 269: Munich 745 = Reinach, i. 67 = Furtwaengler and Reichhold, 16: see also Bibl. Nat. 171 = Reinach, ii. 253. Footnote 270: B.M. F 151. Footnote 271: Reinach, i. 375. Footnote 272: Helbig 227 = Reinach, i. 357; _E.g._ ii. 259 = Bibl. Nat. 820 (?). Footnote 273: B.M. B 147. Footnote 274: Naples 690, 3245. Footnote 275: Reinach, i. 355. Footnote 276: Millin-Reinach, ii. 25. Footnote 277: Reinach, ii. 297. Footnote 278: Petersburg 1777 = Reinach, i. 153. Footnote 279: See below, p. 103. Footnote 280: B.M. F 479. Footnote 281: Reinach, ii. 56, 3: see p. 97. Footnote 282: _Ibid._ i. 233. Footnote 283: Berlin 1732 = Reinach, ii. 66. Footnote 284: Reinach, ii. 69. Footnote 285: See p. 106, note 1219, for B.F. scenes; for R.F. (in Olympos), Reinach, i. 222 and ii. 76. Footnote 286: Berlin 2634. Footnote 287: Reinach, i. 388. Footnote 288: Overbeck, _Her. Bildw._ pl. 2, 11 = _Wiener Vorl._ 1889, 9, 6. Footnote 289: B.M. E 696. Footnote 290: Berlin 2633; Reinach, ii. 87 (?); _Wiener Vorl._ E. 11 = _Jahrbuch_, 1894, p. 252. Footnote 291: B.M. F 159; François vase; Helbig 106 = Reinach, ii. 101; _Wiener Vorl._ vi. 7 (Duris in Louvre); B.M. E 468, Helbig 232 = Reinach, ii. 59; Reinach, i. 218. Footnote 292: Reinach i. 105 (Naples 3223) and i. 504; B.M. F 166, Berlin 3256, Naples 1984 = Reinach, i. 390, 2, and _Anzeiger_, 1890, p. 90 (Berlin). Footnote 293: Reinach, i. 321. Footnote 294: _Arch. Anzeiger_, 1895, p. 39 (Berlin). Footnote 295: B.M. E 336: cf. Reinach, i. 218 and Overbeck, _Kunstmythol._ iv. p. 15. Footnote 296: _Röm. Mitth._ 1888, pl. 1; Hartwig, _Meistersch._ pl. 67, 2; _E.g._ p. 602 ff. (cultus-statue of the moon-goddess, Artemis Munychia); and see note 299. Footnote 297: Vol. I. p. 289; Berlin 301 = Reinach, i. 380; Naples 304 = Reinach, i. 380; Baumeister, i. p. 132, fig. 139; François vase; _Arch. Anzeiger_, 1890, p. 2 (Karlsruhe). Footnote 298: Athens 462 = Reinach, i. 517: see $1$2 1892, p. 219 ff. Footnote 299: _Él. Cér._ ii. 7 (with hind and lyre); Bibl. Nat. 365 = Reinach, ii. 257 (drawing arrow from quiver); Bibl. Nat. 491 = _Gaz. Arch._ 1885, pl. 32; Reinach, i. 494 (with two dogs); Froehner, _Musées de France_, pl. 4. Footnote 300: _Él. Cér._ ii. 8, 43; Naples 3253 = Reinach, i. 194; B.M. F 274; Reinach, ii. 228. Footnote 301: B.M. E 432. Footnote 302: Millin-Reinach, ii. 77. Footnote 303: B.M. E 262 = Reinach, ii. 45; and see _Él. Cér._ ii. 9 (in Louvre). Footnote 304: Naples 2200 = Reinach, i. 379; Berlin 3164; Reinach, ii. 16 (?). Footnote 305: B.F.: Athens 882 = Heydemann, _Gr. Vas._ pl. 8, 3; _Él. Cér._ ii. 103 C. Late: B.M. F 176, F 480 (Etruscan); Berlin 3239 = _Él. Cér._ ii. 103 B; Reinach, i. 229 and 250 (the former of these now at Boston). Footnote 306: Athens 835 = _Ath. Mitth._ 1890, pl. 8. Footnote 307: B.M. F 159. Footnote 308: Reinach, i. 104, 133, 158, 504. Footnote 309: Athens 1921 = Reinach, i. 511. Footnote 310: B.M. B 195, B 316, E 255; Bibl. Nat. 251 = Reinach, ii. 252. Footnote 311: Reinach, ii. 4. Footnote 312: _Ibid._ i. 132. Footnote 313: B.M. B 197, B 298; Reinach, ii. 154: cf. B.M. B 257. Footnote 314: _Él. Cér._ ii. 90. Footnote 315: See above, p. 15. Footnote 316: B.M. E 410. Footnote 317: Reinach, ii. 32. Footnote 318: B.M. B 203. Footnote 319: Reinach, i. 499. Footnote 320: B.M. B 231; Reinach, i. 233. Footnote 321: B.M. F 479. Footnote 322: B.M. B 320; Reinach, ii. 72; in Olympos, B.M. B 379, Berlin 2278, and Reinach, ii. 76. Footnote 323: _Wiener Vorl._ vi. 7 = Duris kylix in Louvre. Footnote 324: Millin-Reinach, ii. 25. Footnote 325: _Arch. Anzeiger_, 1895, p. 36. Footnote 326: See note 326 on p. 17. Footnote 327: B.M. E 47; Berlin 2293. Footnote 328: B.M. B 147, B 244; B.M. E 410; Bibl. Nat. 444. Footnote 329: E 467 and D 4. Footnote 330: Berlin 2537 = Reinach, i. 208; _ibid._ i. 66 (Munich 345), 113. Footnote 331: Berlin 2294; and see below, p. 130. Footnote 332: B.M. B 507; _Él. Cér._ i. 51: cf. p. 171. Footnote 333: Bibl. Nat. 820 = Reinach, ii. 259 (?). Footnote 334: Reinach, i. 330. Footnote 335: B.M. B 302, and cf. F 68. Footnote 336: B.M. B 252: see _Arch. Journ._ ii. p. 67. Footnote 337: Berlin 2957 = _Él. Cér._ i. 88 (Etruscan). Footnote 338: B.M. D 4; E 467. Footnote 339: Plate L.; and see p. 24. Footnote 340: B.M. E 182; Petersburg 1792 = Reinach, i. 1. Footnote 341: Berlin 2537; B.M. E 372; Munich 345 = Reinach, i. 66; _Wiener Vorl._ iii. 2 = Reinach, i. 113. Footnote 342: Athens 1962. Footnote 343: Reinach, i. 126: for other examples see p. 122. Footnote 344: Bibl. Nat. 216 = _Él. Cér._ iv. 96 (Ares); Bibl. Nat. 820 = Reinach, ii. 259 (Hephaistos). Footnote 345: B.M. E 268; Bibl. Nat. 220 (= Reinach, ii. 211) and 229; and see under Hermes, p. 52, note 591. Footnote 346: Reinach, i. 11. Footnote 347: B.M. B 552; Berlin 2179 = _Wiener Vorl._ iii. 6; _Mus. Greg._ ii. 38, 2_E.g._ (with Poseidon and Dionysos). Footnote 348: Reinach, i. 463. Footnote 349: Berlin 2418 = Baumeister, ii. p. 1001, fig. 1209: cf. B.M. E 490 and Reinach, i. 342 (in Boston); Reinach, i. 175, 510, 511 (Athens 1921). Footnote 350: _Él. Cér._ i. 68, 76 A; with N. sacrificing, _Boston Mus. Report_, 1898, No. 51. Footnote 351: B.M. E 324 (Hebe?); Reinach, ii. 323 (Hebe?); _ibid._ 324 (Iris). Footnote 352: Vienna 329: cf. _Él. Cér._ i. 82 (A. with Z., but not pouring libation). Footnote 353: See p. 106 for these scenes, in which she is almost invariably present. Footnote 354: B.M. B 198, B 498; Helbig 93 = _$1_ ii. 54, 2. Footnote 355: B.M. D 14; Berlin 2626 = _Coll. Sabouroff_, i. 67; Millin-Reinach, ii. 41. Footnote 356: Reinach, ii. 75 (doubtful). Footnote 357: Stackelberg, pl. 15. Footnote 358: _Arch. Anzeiger_, 1898, p. 51 (vase in Boston). Footnote 359: B.M. E 48; Berlin 2179 = _Wiener Vorl._ iii. 6; _Boston Mus. Report_, 1900, No. 25; Reinach, i. 55, 6 (Petersburg 116), 91, 421 (Petersburg 2012), ii. 271; and see _Wiener Vorl._ E. 12, 2. Footnote 360: B.M. B 155, 248, 380, E 181, 493, F 83; Bibl. Nat. 277 = Reinach, i. 290; _Mon. Grecs_, 1878, pl. 2. Footnote 361: B.M. E 81; Petersburg 2189 = Reinach, i. 5(?). Footnote 362: Reinach, i. 108, 195, 331. Footnote 363: _Ibid._ i. 102, 226. Footnote 364: B.M. E 696. Footnote 365: Reinach, i. 184. Footnote 366: B.M. E 155. Footnote 367: Reinach, i. 480. Footnote 368: _Bull. de Corr. Hell._ 1898, p. 586. Footnote 369: Reinach, i. 231. Footnote 370: _Arch. Anzeiger_, 1895, p. 39 (Berlin). Footnote 371: Reinach, i. 363. Footnote 372: _Ibid._ ii. 296: see pp. 77, 128. Footnote 373: At meeting of Paris and Helen, Athens 1942 = Reinach, i. 402; at combat of Ajax and Hector, _Wiener Vorl._ vi. 7 (Duris in Louvre); at dispute over the arms, B.M. E 69; and see for other instances, Reinach, i. 3, 82, 138, 174, 218; ii. 59, 266. Footnote 374: Reinach, ii. 110. Footnote 375: Vase in Boston: see 1899 Report, No. 16. Footnote 376: See below, p. 124. Footnote 377: B.M. B 541, E 160. Footnote 378: Reinach, i. 5 (?), 158, 390; _Arch. Anzeiger_, 1890, p. 90 (Berlin). Footnote 379: Berlin 2313 = Reinach, i. 416 = _Wiener Vorl._ vii. 4, 3. Footnote 380: B.M. E 316 = Plate XXXVI. Footnote 381: Reinach, ii. 123 (= Munich 1185), 262 (= Bibl. Nat. 369). Footnote 382: B.M. E 299. Footnote 383: Berlin 1846 = Reinach, ii. 30 (before Dionysos). Footnote 384: Reinach, i. 342. Footnote 385: _Ibid._ ii. 166; _Boston Mus. Report_, 1896, No. 1. Footnote 386: _Él. Cér._ i. 83. Footnote 387: Berlin 2415 = Reinach, i. 343 (the Trojan horse?). Footnote 388: Vol. I. p. 223, Fig. 72. Footnote 389: Reinach, i. 501. Footnote 390: _Ibid._ ii. 44. Footnote 391: B.M. E 515, 519. Footnote 392: _Röm. Mitth._ 1897, pl. 12; Bibl. Nat. 260; Louvre F 380. Footnote 393: B.M. B 203; Reinach, ii. 73; with Poseidon, Athens 836; with Hermes, Benndorf, _Gr. u. Sic. Vasenb._ pl. 4, 1. Footnote 394: Millin-Reinach, ii. 25. Footnote 395: Reinach, ii. 125, 130; Bibl. Nat. 232, 256 = Rein. ii. 254. Footnote 396: _Ibid._ i. 44. Footnote 397: Bibl. Nat. 260. Footnote 398: B.M. B 242, 379, 541, E 160, 470, F 160, 209, 278; Munich 65 = Reinach, i. 76; Naples 2422 = Furtwaengler and Reichhold, 34. Footnote 399: See below, p. 133. Footnote 400: B.M. E 494, E 696; E 716 (moulded vase); and cf. B 611 (Nikephoros). Footnote 401: B.M. B 222, E 305 (Pl. XXXVI.), E 324, E 515; _Él. Cér._ i. 82; Bibl. Nat. 219; _Bull. de Corr. Hell._ 1898, p. 586. Footnote 402: For a fine example of Athena Promachos see Athens 1169 = Benndorf, _Gr. u. Sic. Vasenb._ 31, 2. Footnote 403: See Vol. I. p. 389, and Plates XXXIII., XXXIV.; also the B.M. examples B 130–46, 602–12. Footnote 404: _Él. Cér._ i. 67. Footnote 405: B.M. B 80; Berlin 1686 = Rayet-Collignon, pl. 7; Reinach, ii. 122; Athens 1858 = Reinach, i. 396 (identified as Athena Nike or Onka); for the trophy-like form of the figure on the last-named cf. the coins of Pergamon inscribed Ἀθηνᾶς Νικηφόρον: see also for a curious subject Benndorf, _Gr. u. Sic. Vasenb._ pl. 31, fig. 1. Footnote 406: B.M. D 22; Bibl. Nat. 472 = Reinach, i. 131, 4. Footnote 407: B.M. B 147; Reinach, i. 156. Footnote 408: B.M. B 617; Berlin 2531; Bibl. Nat. 573 = Reinach, ii. 256; Athens 1259 = Reinach, i. 506. Footnote 409: See p. 101; for his subsequent attack on Athena, _Arch. Anzeiger_, 1898, p. 51 (vase in Boston). Footnote 410: B.M. E 67, E 82; Reinach, i. 203. Footnote 411: B.M. B 191, B 228. Footnote 412: _Amer. Journ. of Arch._ 1896, p. 6, fig. 4. Footnote 413: Bibl. Nat. 216 (= _Él. Cér._ iv. 96) and 229. Footnote 414: _Él. Cér._ iv. 94–95; B.M. E 82, and Berlin 2278 (in assemblies of gods); _Gaz. Arch._ 1876, pl. 34. Footnote 415: B.M. B 551; and see Athens 903. Footnote 416: _Él. Cér._ iv. 98. Footnote 417: B.M. E 467. Footnote 418: B.M. E 155. Footnote 419: Reinach, i. 463. Footnote 420: B.M. B 379; Berlin 1961 (= Reinach, ii. 43) and 2278; Bibl. Nat. 254. Footnote 421: Reinach, ii. 91. Footnote 422: _Él. Cér._ iv. 99. Footnote 423: _Röm. Mittheil._ 1899, pl. 7: cf. Paus. vii. 8. Footnote 424: B.M. F 108, 373 (?); Millingen-Reinach, 26; Reinach, i. 119, 265, 325, 479 (?); _Él. Cér._ iv. 66 (?). Footnote 425: Reinach, i. 499 = Naples S.A. 702; also Naples 2900 = Millingen-Reinach, 41 = Baumeister, iii. p. 1653, fig. 1714. Footnote 426: Reinach, i. 156. Footnote 427: B.M. D 2; _J.H.S._ xii. pl. 13; _Jahrb._ 1886, pl. 11, 2; Berlin 2636 (_Él. Cér._ iv. 5) and 2688 (= Benndorf, _Gr. u. Sic. Vasenb._ 37, 3); Reinach, ii. 7, 183. Late: B.M. F 240, 556. Footnote 428: Berlin 2635 = _Jahrbuch_, 1889, p. 208 = Roscher, iii. 1514. Footnote 429: Berlin 2660. Footnote 430: _Él. Cér._ iv. 6. Footnote 431: _Arch. Anzeiger_. 1898, p. 137 (Dresden vase): cf. Paul, _E.g._ Fest. iii. _E.g._ Cytherea and the B.M. terracottas D 89–91. Footnote 432: B.M. E 712, 775; Athens 1944; Reinach, i. 124, ii. 323; Inghirami, _Vasi Fitt._ 324. Footnote 433: Reinach, i. 353. Footnote 434: B.M. E 230, F 311; Athens 1588 = Roscher, iii. p. 2119 (Fig. 117); Reinach, i. 39, ii. (290; _Burlington Fine Arts Club Cat._ 1903), p. 108, No. 46. Footnote 435: Reinach, ii. 301, 320; Berlin 2707 = _Coll. Sabouroff_, pl. 62, 2. Footnote 436: Petersburg 1983 = Reinach, i. 15. Footnote 437: Froehner, _Musées de France_, pl. 13, 4. Footnote 438: Berlin 4126 = Reinach, i. 128. Footnote 439: B.M. E 699 = _J.H.S._ xi. pl. 4. Footnote 440: B.M. E 224, 697, 698, 775; Berlin 3257 (with Eunomia and Euthymia at marriage of Herakles and Hebe); Naples S.A. 316 = Reinach, i. 477 (with Eukleia, Klymene, and Pannychis); _Mon. Grecs_, 1889–90, pls. 9–10 (without names); Fig. 117 = Athens 1588 = Roscher, iii. p. 2119 (with Kore, Hebe, Eudaimon, Harmonia, and others). Footnote 441: Reinach, ii. 315; Millin-Reinach, i. 65. Footnote 442: Reinach, i. 198. Footnote 443: B.M. E 230, E 289, and cf. F 311; Baumeister, i. p. 618, fig. 687 (? see p. 57, note 710). Footnote 444: _Él. Cér._ iv. 38. Footnote 445: Stackelberg, pl. 30: cf. B.M. E 697. Footnote 446: Reinach, i. 129; B.M. F 258; Bibl. Nat. 1005, 1133 (head of A. adorned by two Erotes). Footnote 447: See above, p. 17. Footnote 448: B.M. E 15; Reinach, i. 156(B.F.). Footnote 449: B.M. B 197. Footnote 450: _Mon. Grecs_, 1875, pls. 1–2. Footnote 451: Petersburg 350, 525 = Reinach, i. 11–12; _Rev. Arch._ xxxvi. (1900), p. 93. Footnote 452: B.M. F 270, 332; Reinach, i. 355–56, 479. Footnote 453: B.M. B 203; F 90. Footnote 454: Reinach, i. 124, 465; ii. 181. Footnote 455: Berlin 3164; Reinach, i. 111, 4 and 416. Footnote 456: Berlin 3239. Footnote 457: Reinach, i. 405, 452 (Berlin 2950); ii. 197. Footnote 458: Helbig 118 = Overbeck, _Kunstmythol. Atlas_, 6, 13. Footnote 459: Reinach, i. 526. Footnote 460: Reinach, i. 481; Berlin 2278; Furtwaengler-Reichhold, 20; at marriage with Hebe, Berlin 3257. Footnote 461: B.M. E 224. Footnote 462: Reinach, i. 91. Footnote 463: B.M. E 224. Footnote 464: Naples 3226 = Millin-Reinach, ii. 7 (Kadmos); B.M. F 271 (Pelops); Reinach, i. 188, and _Jahrbuch_, 1896, pl. 2 (Perseus); Naples S.A. 11 = Reinach, i. 401 (Meleager). Footnote 465: See below, p. 122. Footnote 466: Millingen-Reinach, 43: cf. Berlin 3244 for another possible Anchises. Footnote 467: B.M. E 424; François vase. Footnote 468: Reinach, i. 437. Footnote 469: B.M. E 73; _Tyszkiewicz Coll._ pl. 18 (now in Boston). Footnote 470: B.M. F 209. Footnote 471: Reinach, i. 222, and cf. i. 437 and B.M. F 278 (statue of A.); Noel des Vergers, _Étrurie_, iii. pl. 39. Footnote 472: B.M. B 173, 280; Reinach, ii. 116. Footnote 473: B.M. E 289; Reinach, i. 7, 15, 126; _Wiener Vorl._ A. 10, 3. Footnote 474: B.M. F 108 (anointing Adonis’ hair). Footnote 475: B.M. E 129. Footnote 476: Zeus and Danaë: B.M. E 711; Europa: B.M. E 231, F 184, Naples 3218 (Eros on bull); Reinach, i. 22, 24. Footnote 477: Reinach, i. 449. Footnote 478: B.M. F 272, 279; _Arch. Anzeiger_, 1890, p. 89 (Berlin). Footnote 479: B.M. E 424; Plate XXXIX. fig. 2. Footnote 480: B.M. F 271, 331; Reinach, i. 235. Footnote 481: Reinach, i. 9, 402 (Athens 1942), 437. Footnote 482: Reinach, i. 156, ii. 309. Footnote 483: _Ibid._ i. 66. Footnote 484: B.M. E 227. Footnote 485: B.M. F 107. Footnote 486: Reinach, i. 22. Footnote 487: B.M. F 270; Reinach, i. 355, 455 (with Orpheus). Footnote 488: Reinach, i. 66; _E.g._ i. 100, 167; B.M. F 152, 194; Gerhard, _Akad. Abhandl._ pl. 7, fig. 1 = Inghirami, _Vasi Fitt._ 394 (with Helios and Selene ?see p. 79, note 954); B.M. F 74 and F 102 (Herakles). Footnote 489: B.M. F 311: cf. F 399. Footnote 490: B.M. F 90. Footnote 491: B.M. F 69: cf. _Bourguignon Sale Cat._ 41. Footnote 492: B.M. E 228, 428, 435, 703; F 58, 60, 72, 382; Millin-Reinach, ii. 16 (offers wreath to D.). Footnote 493: Millin-Reinach, i. 20. Footnote 494: Reinach, i. 525, 526. Footnote 495: B.M. E 225, 229, 705; F 138, 308, 310, 332. Footnote 496: Reinach, i. 206. Footnote 497: B.M. E 126, 189, 191. Footnote 498: B.M. F 48. Footnote 499: Athens 1946 = Dumont-Pottier, i. pl. 21, 5. Footnote 500: B.M. E 205 (?); Reinach, i. 412. Footnote 501: B.M. F 123 (cf. p. 50, note 547); Reinach, ii. 315 = Baumeister, ii. p. 780, fig. 834. Footnote 502: B.M. E 704; E 721. Footnote 503: Reinach, i. 232. Footnote 504: _Bull. de Corr. Hell._ 1899, p. 158 = _Burlington Club Cat._ 1903, p. 97, No. 11. Footnote 505: B.M. E 397, Reinach, ii. 142; B.M. E 217, 360, 702, Reinach, ii. 315. Footnote 506: Reinach, ii. 317; Hartwig, _Meistersch._ pl. 22, fig. 1 (? see p. 80, note 970). Footnote 507: Reinach, ii. 191. Footnote 508: Naples 2961. Footnote 509: B.M. E 297. Footnote 510: Hartwig, _Meistersch._ pl. 27, p. 262. Footnote 511: Petersburg 1181 = Reinach, ii. 318: cf. Reinach, i. 250, and _Arch. Anzeiger_, 1890, p. 89 (see p. 46, note 478). Footnote 512: F 220. Footnote 513: B.M. E 293; Reinach, i. 465. Footnote 514: B.M. E 652. Footnote 515: Bibl. Nat. 366 = _Él. Cér._ iv. 51. Footnote 516: B.M. E 526, 528. Footnote 517: Reinach, i. 479; _Ibid._ i. 57. Footnote 518: Reinach, i. 55, Millin-Reinach, ii. 59; Reinach, ii. 324, _Él. Cér._ iv. 53; Reinach, i. 347; _E.g._ ii. 248, B.M. F 555. Footnote 519: B.M. F 579 = Fig. 118; Reinach, i. 277. Footnote 520: Baumeister, iii. p. 1573, fig. 1633; B.M. E 501. Footnote 521: B.M. E 706, Naples 2872 = Reinach, ii. 169; B.M. E 296, _Él. Cér._ iv. 49; B.M. F 221. Footnote 522: B.M. E 241, Reinach, i. 229, ii. 302; _Él. Cér._ iv. 50. Footnote 523: B.M. E 213; Reinach, i. 36; B.M. F 68, F 441. Footnote 524: B.M. F 223, 279, 373: cf. Theocr. ii. 30 (ῥόμβος); Hor. _Epod._ xvii. 7 (_turbo_). Footnote 525: B.M. E 118, 571; F 219, 257, Reinach, i. 312 (dove), _Él. Cér._ iv. 49 (cock). Footnote 526: B.M. E 13; F 294, 340, 378; Reinach, i. 528, B.M. F 17, 308, 409. Footnote 527: B.M. F 132, 225, 278, 280, 258 (two Erotes holding wreath); F 165, 176, 329, 389; F 310; F 234, 257, 306, 414, 440; E 518. Footnote 528: B.M. F 349; E 242, F 391; Baumeister, i. p. 498, fig. 540; B.M. F 387, 481; F 294, 382, Millin-Reinach, i. 20 (torch and bow); B.M. F 443; E 239; F 308, 414 (Plate XLIV.). Footnote 529: B.M. F 420, 434; F 456; F 13, 219, 292, 325; F 31, 280, 317, 323; F 37; E 293, 388; F 31, 63, 234, 278; F 280, 315, 337, 373. Footnote 530: Naples S.A. 11 = Reinach, i. 401 (at death of Meleager). Footnote 531: _Abhandl. d. k. sächs. Gesellsch._ viii. pl. 1, fig. 1 (with Sappho). Footnote 532: B.M. E 222; also at the toilet of Aphrodite (Fig. 117 above). Footnote 533: Raoul-Rochette, _Mon. Inéd._ 8. Footnote 534: Petersburg 350 = Reinach, i. 12; _Rev. Arch._ xxxvi. (1900), p. 93; Reinach, i. 124. Footnote 535: Reinach, i. 188. Footnote 536: B.M. E 224. Footnote 537: Reinach, i. 437. Footnote 538: B.M. E 224. Footnote 539: Noel des Vergers, _Étrurie_, iii. pl. 39. Footnote 540: Naples 2900 = Millingen-Reinach, 41. Footnote 541: _Röm. Mitth._ 1899, pl. 7. Footnote 542: Reinach, i. 526. Footnote 543: Roscher, iii. p. 1811. Footnote 544: B.M. E 440. Footnote 545: Berlin 2633. Footnote 546: B.M. E 226. Footnote 547: Reinach, ii. 302: see also _Boston Mus. Report_, 1900, No. 11, and Jatta 1093 = Heydemann, _Satyr- u. Bakchennamen_, pl. 1 (holding grapes). Footnote 548: Munich 234 = Reinach, i. 298 = Baumeister, iii. p. 1571, fig. 1632. Footnote 549: Berlin 3257. Footnote 550: Reinach, ii. 200. Footnote 551: Jatta 1093. Footnote 552: Naples 3240 = Reinach, i. 114. Footnote 553: B.M. B 32; Louvre G 10; Reinach, ii. 276. Footnote 554: Berlin 4003 = _Coll. Sabouroff_, i. pl. 50. Footnote 555: B.M. E 58. Footnote 556: Louvre F 159; _Él. Cér._ iii. 87. Footnote 557: Berlin 2727 and Reinach, i. 159; Berlin 1881. Footnote 558: B.M. B 549. Footnote 559: _Él. Cér._ iii. 73 (Hermaios), 76. Footnote 560: Millin-Reinach, i. 51. Footnote 561: Reinach, ii. 276. Footnote 562: B.M. B 32; Athens 592 = _Ath. Mitth._ 1893, pl. 2. Footnote 563: B.M. B 332. Footnote 564: Vienna 321 (cf. Ar. _Ach._ 729 ff.). Footnote 565: Reinach, ii. 25. Footnote 566: _Él. Cér._ iii. 14 and 75. Footnote 567: Louvre E 702 = Reinach, i. 354; Helbig, 227 = Reinach, i. 357 = Baumeister, i. p. 680, fig. 741 (Fig. 119). Footnote 568: Reinach, ii. 25; De Witte, _Coll. à l’Hôtel Lambert_, pl. 1. Footnote 569: Bibl. Nat. 820 = Reinach, ii. 259. Footnote 570: _Él. Cér._ iii. 93; Millin-Reinach, i. 70; Reinach, ii. 330. Footnote 571: B.M. F 237, and see above, p. 15. Footnote 572: Berlin 1702 (Hermes Kyllenios), and see p. 15. Footnote 573: B.M. B 197; Reinach, ii. 266. Footnote 574: See above, p. 17. Footnote 575: Reinach, i. 472. Footnote 576: B.M. E 65. Footnote 577: See p. 20. Footnote 578: Louvre A 478 (_Hermes_, 1898, p. 638); _Bull. de Corr. Hell._ 1898, p. 586. Footnote 579: Reinach, i. 234. Footnote 580: _Ibid._ i. 124. Footnote 581: _Ibid._ i. 499. Footnote 582: _Ibid._ i. 244; i. 463; i. 175. Footnote 583: _Ibid._ ii. 4. Footnote 584: B.M. B 203 (Athena); Reinach, ii. 22, 26, 73; Benndorf, _Gr. u. Sic. Vasenb._ 4, 1. Footnote 585: B.M. B 340; E 44, 459; Reinach, ii. 125, 152, 275. Footnote 586: Athens 1345 = _J.H.S._ xix. pl. 10; Millin-Reinach, ii. 37 (Lasimos in Louvre). Footnote 587: Millin-Reinach, ii. 44. Footnote 588: Reinach, i. 388. Footnote 589: _Ibid._ i. 380. Footnote 590: B.M. E 467; _J.H.S._ xxi. pl. 1. Footnote 591: See generally under those deities; for H. and Athena: B.M. B 144, Reinach, i. 257, ii. 42 (Panathenaic); B.M. E 268, Reinach, i. 520 (Athens 477), ii. 25, 211 (Bibl. Nat. 220). Footnote 592: Berlin 2635 = _Jahrbuch_, 1889, p. 208. Footnote 593: B.M. B 257, 259, 267, 302 (banqueting); Berlin 2160 (with the Satyr Oreimachos); Reinach, i. 129 (playing lyre). Footnote 594: B.M. B 424, E 492; Petersburg 1792, 1793 (= Reinach, i. 1 and 3); Helbig, 103 = Rayet and Collignon, p. 223; Reinach, i. 93, ii. 310; and see _Ath. Mitth._ 1889, pl. 1, p. 1 ff, and p. 55, note 642. Footnote 595: B.M. B 230; Oxford 222; Reinach, ii. 29. Footnote 596: See p. 69. Footnote 597: B.M. F 277; Reinach, i. 99: cf. _Rev. Arch._ xxxvi. (1900), p. 93. Footnote 598: See p. 28; also Naples 1989 = _Él. Cér._ iii. 91, and Reinach, i. 522. Footnote 599: Reinach, i. 456; Berlin 2455; Munich 209 = Fig. 122, p. 70. Footnote 600: Athens 1093 = Roscher, ii. p. 2678; Berlin 2991. Footnote 601: Louvre F 60. Footnote 602: Bibl. Nat. 269. Footnote 603: _J.H.S._ xx. p. 101: cf. the story of Pandora’s “box,” and see Vol. I. p. 152 and p. 75 below. Footnote 604: Munich 611 = Reinach, i. 419. Footnote 605: Reinach, i. 389, ii. 32, 70. Footnote 606: B.M. B 167, B 301; B 229. Footnote 607: Reinach, i. 297, 323, ii. 70, 74–75. Footnote 608: B.M. B 166, 318, 379; Louvre F 116–117; Reinach, i. 222, 368, ii. 76. Footnote 609: Bibl. Nat. 172; Reinach, i. 91, ii. 271. Footnote 610: B.M. B 248, B 280, E 493; Bibl. Nat. 277 = Reinach, i. 290; _E.g._ ii. 48; _Mon. Grecs_, 1878, pl. 2 (represents an earlier episode). Footnote 611: Bibl. Nat. 224. Footnote 612: See p. 122. Footnote 613: Athens 966. Footnote 614: Reinach, i. 89, 144. Footnote 615: _Ibid._ i. 138, ii. 99. Footnote 616: _Wiener Vorl._ 1890–91, 10 (Louvre). Footnote 617: _Él. Cér._ iii. 78–81; Bibl. Nat. 839: see Roscher, i. p. 2393. Footnote 618: B.M. B 362, 627, E 585; Berlin 1928, 2172; Schreiber-Anderson, 16, 8, and 14, 3. Footnote 619: B.M. B 345, E 444; Berlin 2278; Reinach, i. 203; _Ath. Mitth._ 1889, pl. 1. Footnote 620: _Forman Sale Cat._ 364.